"All the Way" at the History Theatre

The night after seeing the historical political drama Watch on the Rhine at the Guthrie, I saw the historical political drama All the Way at the History Theatre. That was a couple of pretty heavy (and long) nights, and left me feeling dismayed at just how much history repeats itself. With Watch on the Rhine, it's the rise of fascism in 1930s Europe, genocide, and an impending world war. With All the Way, it's political machinations, the Civil Rights movement, and the ugly opposition to freedom and equality for all. Covering Lyndon B. Johnson's short and eventful first presidential term, from Kennedy's assassination that thrust him into the presidency to his re-election (or rather, first election) one year later, All the Way has a lot of history and historical figures to pack into three (yes, three) hours. While I wish that playwright Robert Schenkkan had consolidated characters and compressed speeches a bit to create a more concise and driving story (the days of me being able to sit comfortably through a three-hour play are long gone), it's a gripping story, well told by director Ron Peluso and an excellent cast.

"Teen Idol: The Bobby Vee Story" at the History Theatre

Friends, I think the History Theatre has another hit on their hands. After the huge success of last fall's new original musical Glensheen, which received a second run and an Ivey award this year, they follow in the footsteps of the proven success of Buddy: The Buddy Holly Story with Teen Idol: The Bobby Vee Story. In a way, this story picks up where that story left off. Bobby Vee's career was born on the day the music died. But this new musical (or rather play with music if you want to get technical about it, and I do*) doesn't just rest on the nostalgia of baby boomers, who, let's face it, would come see the show no matter how good it was just to hear these great old hits of the '60s. Teen Idol is more than just a string of familiar hits, it's a well written and extremely satisfying play with music that tells the story of Bobby Vee's life, music, family, and rise to and fall from fame. Kind of like a cleaner version of Jersey Boys (Fargo ND is far from New Jersey and not just in geography). Featuring a star performance by Tyler Michaels, who continues to impress with his range of talents and characters, and an incredibly strong ensemble chock full of local talent, who all get their moment to shine, Teen Idol is a fantastic show no matter your generation.

"Violet" at Yellow Tree Theatre

I fell in love with the 1997 Off-Broadway musical Violet six years ago after seeing Theater Latte Da's beautiful production in the Guthrie Studio. Produced on a sparse stage with a small cast and three-piece band, I found it to be so beautiful, raw, poignant, and relatable, that I went back and saw it again. It's one of my most listened to musical theater cast recordings, and is definitely in my list of top ten, maybe even top five, musicals. This lovely little musical finally made it to Broadway in 2014, where I saw it and loved it again.* But Violet is not a big splashy Broadway musical; it's more suited to small intimate spaces, which makes it a perfect choice for Yellow Tree Theatre. And even though this is a small musical by Broadway standards, it's huge by Yellow Tree standards. But they've really pulled out all the stops and created a beautiful and poignant production of this musical that's so close to my heart, featuring a wonderful ensemble cast that's the biggest and most diverse they've ever had. If you can snag a ticket before they completely sell out, I highly recommend you hop on the Yellow Tree bus and take this emotional and fulfilling journey with them.

"Into the Woods" by Theater Latte Da at the Ritz Theater

I first saw the Stephen Sondheim/James Lapine musical fairy tale mash up Into the Woods four years ago, and have seen it several times since then, including the recent star-studded movie. Every time I see it I like it more. I think Sondheim is like Shakespeare in that it has a very specific rhythm and cadence to it that takes a minute to get used to, but the more time you spend with it, the richer and deeper it becomes. Such has been my experience with Into the Woods, so I was primed to love my favorite theater company Theater Latte Da's production of it. But it has exceeded my expectations, and even Sondheim newbies will be enthralled by this brilliant staging of a brilliantly written musical. Latte Da has pared down this big Broadway musical to something that feels intimate and innovative, using a small cast and orchestra, and inventive and thoughtful choices in every detail of the production. This, my friends, is Broadway re-imagined, or at least how I would like to see Broadway re-imagined. Simply put, it's sublime.

Where better to set Into the Woods than in Germany, birthplace of fairy tales as we know them? And why not make it a beer garden for extra fun and specificity? The stage is set the moment you walk into the lobby of the charming Ritz Theater, where a sign reading "Theater Latte Da präsentiert Ab in den Wald" hangs over the concession stand, which sells delicious Bauhaus beer and pretzels, or as the German nerd in me likes to say, Bier und Bretzeln (yes, I was the one on Opening Night wearing the Austrian hat I bought in Salzburg 20 years ago when I studied abroad there). The stage itself has been laid bare with no walls or backdrops; you can see the whole stage area, back to the unfinished walls. There is no backstage, everything happens in front of you, including costume changes and sound effects, which are cleverly created by the cast. Trees are constructed by what looks like wooden fencing spiraling to the sky, and after the giant comes through, half of the trees fall creating obstacles that each character maneuvers in their own specific way, athletically, carefully, or clumsily (set design by Kate Sutton-Johnson). All prop pieces look organic to the scene, including chandeliers made of antlers and the most adorable cow, constructed from an old-fashioned buggy with a wooden pail for a head and a piece of rope for a tail, and a little bit of imagination (properties design by Benjamin Olsen). Actors walk out on stage RENT-like with the house lights still up, and then begin to tell the story, making the audience feel like we're all in this together.

the beautiful cast of Into the Woods(photo by Heidi Bohnenkamp)

Director Peter Rothstein has made a genius decision to cast just 10 actors in these 20 roles, and once again has chosen the perfect actors for each part, with clever pairings of characters to an actor. It's such a delight to watch the über-talented David Darrow transform from the hard-working earnest baker to a pompous and shallow prince in a matter of seconds as he doffs one hat and dons another behind a tree; or the young star-in-the-making Brandon Brooks kill Jack's mother as the steward in one scene and mourn her as Jack in the next; or Peter Middlecamp go from the evil stepmother to the charming prince and back again several times within one scene (not to mention his deliciously devilish wolf, Hollywood - you can keep Johnny Depp, I'll take Peter Middlecamp any day). Dan Hopman is a wonderful narrator and emcee, slightly detached and observing, until he's forced into the story. Britta Ollmann only has one role to play, Cinderella, but she does it beautifully. Kendall Anne Thompson and Shinah Brashears are excellent as the stepsisters as well as the witch's sheltered and absurdly long-haired daughter Rapunzel and the fearless and spirited Little Red, respectively. Kate Beahen is warm and human as the Baker's wife, and also climbs inside a tree to voice Cinderella's mother. Elisa Pluhar brings to life both Jack's exasperated mother and Little Red's doomed Granny. Last but certainly not least, Greta Oglesby is a commanding voice and presence as the witch, in both of her forms.

But this is Sondheim, so let's talk about the music. Music Director Jason Hansen on piano leads just two other musicians (on cello and wind instruments) in this sparse three-piece orchestra that, despite being a significantly trimmed down orchestration, leaves nothing to be desired. The ten singers all sound gorgeous, alone and in delicious harmony. There's not one false note, moment, or performance in the entire show. Listening to David and Peter duet as the pompous princes complaining about their women is the opposite of "Agony," in fact it's a highlight in a show that's one highlight after another. The "No One is Alone" quartet is poignant and beautiful, as is Greta's rendition of perhaps the most well-known song, "Children Will Listen." And any song that has all 10 cast members on stage singing and moving at the same time is the best. In fact, the cast never leaves the stage (no backstage, remember?), and simply sit in a chair on the side of the stage when not in the scene. Costume changes happen in full view of the audience, which seems to say "hey, we're putting on a show," and invites us to use our imagination to play along.

Speaking of costumes, Samantha Haddow's costumes beautifully suit the theme, with the aforementioned hats, lederhosen, peasant gowns, and most importantly, pieces that can easily be added or removed and instantly define the character.

Theater Latte Da's inventive and sublime interpretation of Into the Woods continues through March 29. If you're a fan of music-theater, it's a must see.


This article also appears on Broadway World Minneapolis.

"King Arthur: A Picnic Operetta" by Mixed Precipitation at Falcon Heights Community Garden

There's a lot of outdoor theater going on around the Twin Cities, if you know where to look for it. I partook of one such opportunity on what turned out to be a rainy day, so it was moved indoors to a warming house. But the spirit was still there. Mixed Precipitation takes classic operettas, condenses them, puts a modern spin on them, performs them in community gardens around the Twin Cities metro area, and also serves great food. What could be better? This year's selection is Henry Purcell's 1684 English Baroque opera King Arthur, with plenty of modern references and some punk rock music thrown in for good measure. It's a fun and delicious way to experience music-theater in an informal setting.

Condensing a full opera down to under 90 minutes creates a bit of a hard to follow jumbled mess, but from what I gathered, King Arthur of Cameloteapolis is building a new jousting stadium that will host the Super Joust, a costly endeavor that faces opposition from the Saxons, who are concerned about things like corporate personhood and minimum wage. Or something like that. There is fighting, jousting, magic, a wedding or two, and much beautiful music. I didn't care for the rock songs as much as the opera songs, which are so beautifully sung and played by this wonderful cast and small orchestra that it doesn't seem necessary to add modern songs (although I do kind of love the idea of a rock cello).

Grant Schumann, Peter Middlecamp, and Cassandra McNally

This wonderful cast of adults and children appears to be having a great time playing together, which always makes it more fun for the audience. And they look crazy cool in punk hair, make-up, and costumes. Young Grant Schumann leads the wildly energetic band of Saxons; Wric Larson is dark and mysterious with a commanding deep voice as the demon Grimbald; Elizabeth Windnagel is a delightfully airy imp; Jim Ahrens is our beautiful-haired and slightly out of touch King Arthur; magic is created by JP Fitzgibbons' Merlin and Naomi Karstad's Morgan Le Fay; Maggie Lofbloom's jousting champion Guinevere is a heroine to root for; and Peter Middlecamp is charming as her jousting rival/suitor. And the whole casts sounds fantastic; turns out the warming house has surprisingly good acoustics.

The most unique aspect of this experience is the food. Delicious, interesting, creative, fresh, local food is served in perfect little bites throughout the show, very cleverly worked into the plot and introduced by the characters. I think people should serve me food at the theater all the time! I do wish I had been able to experience this in the great outdoors as intended, but it was still great fun, and they somehow made the last minute change of venue work.

King Arthur continues weekends through September 21. Check the schedule for a garden near you, and then go see some fun and creative music-theater while enjoying delicious food.

"Berlin to Broadway with Kurt Weill" and "Candide" by Skylark Opera at E.M Pearson Theatre

For their annual summer festival, Skylark Opera is presenting the Leonard Bernstein classic operetta Candide and the musical revue Berlin to Broadway with Kurt Weill. The two shows run in rep, with just four performances each over two weekends. I've attended the festival for several years now, and as a musical theater geek who doesn't know much about opera, I always appreciate seeing shows that fall on the more opera side of the music-theater spectrum, presented in an accessible way (Skylark always performs in English) with fantastic casts and musicians performing beautiful music. This summer's shows are both wonderful examples of that.

Berlin to Broadway with Kurt Weill
Rather than a traditional musical or opera with characters and plot, this piece is a compilation of songs by German-American composer Kurt Weill. I have only recently become familiar with Weill, first at last year's Patti LuPone concert in which she sang several of his songs, and then just this spring, when I saw not one but two productions of Weill's most well-known work, The Threepenny Opera. What I liked best about Threepenny was the music, and the more I hear it the more I like it. Berlin to Broadway is a beautiful showcase of the work of this great composer and his complex, interesting, and gorgeous melodies. It's the kind of music that the more time you spend with it, the more you appreciate it.

Four singer/actors and a six-piece band, under the direction of Sonja Thompson, lead us through the life of Kurt Weill, from the beginning of his career in Berlin, to his exile in the Nazi era to Paris and eventually America, to his growing success in his new homeland. The songs are structured chronologically, with one or another of the actors giving a short explanation to establish place and time. Several songs from each piece are presented together, giving us a taste of what the show is like. Wendy Knox, who also directed Frank Theatre's recent production of Threepenny, directs the piece and has truly created a whole that's greater than the sum of its parts. Songs and shows flow from one to the next, with visual interest created by slight costume changes and movement around the stage. It's almost like seeing several little shows in one great show.

Christina Baldwin and Bradley Greenwald
(photo by John Engstrom)

This four-person cast is a dream - Christina Baldwin, Dieter Bierbrauer, Vicki Fingalson, and Bradley Greenwald. This is my first time seeing Vicki onstage, but she fits right in with the other three who I already knew were wonderful. Each of these four voices is stunning on its own, and all of them joined together in four-part harmony is something quite special. But these professionals don't just sing the songs, they also act the songs, adding humor or pathos where required. Some of my favorite moments from the show are: the entire Threepenny section because that's the music I'm most familiar with; Dieter and Bradley singing the rousing "Bilbao Song" (Bradley Grünwald und Dieter Bierbrauer singen auf Deutsch, es war das Schönste auf der Welt!); Christina singing the classic "Pirate Jenny;" Bradley singing the poignant "September Song;" Dieter's absolutely lovely rendition of "Lonely House;" Vicki's sweet love song "That's Him;" and the comic highlight - Christina's hilarious "Saga of Jenny" backed up by Dieter and Bradley.

In short, Berlin to Broadway with Kurt Weill a wonderful exploration of the life of an important musical composer, one I didn't previously know much about, with gorgeous music sung by four impeccable voices.

Candide
Leonard Bernstein is another great American composer, and this 1956 operetta is one of his most celebrated works. Unfortunately it was bogged down by a troublesome book that went through several rewrites over the years. Skylark is presenting a combination of two more recent and more successful revisions. Based on the 18th Century novella by Voltaire, Candide is a satire that skewers the establishment of both 18th Century France and 1950s America. In the broadly comical plot, the bastard Candide is thrown out of his uncle's castle after falling in love with his cousin, the lovely Cunegonde. War breaks out, the castle is destroyed, everyone thinks everyone else is dead, the lovers reunite and travel the world looking for a place to be happy. Lots of other crazy things happen, which eventually disavow the optimist teachings of Dr. Pangloss, that we live in "The Best of All Possible Worlds" and everything that happens is perfect and wonderful. It's a wild romp accompanied by beautiful music.

Jennifer Baldwin Peden, Gary Briggle, and Peter Middlecamp
(photo by John Engstrom)

The huge cast and twenty-plus piece orchestra create a rich and luscious sound, with only three microphones hanging overhead to provide additional amplification of these beautiful trained voices. As the title character, Peter Middlecamp sings like a dream. Jennifer Baldwin Peden (yes, Christina and Jennifer are sisters - such talent in one family!) is adorable and hilarious as Cunegonde, and does unbelievable things with her voice, especially in the famous aria "Glitter and Be Gay." Gary Briggle plays Voltaire, a sort of narrator and guide through the show, and he's wonderfully ridiculous in the other characters he plays. All of these elements combine and build to the stunningly gorgeous finale, "Make Our Garden Grow." This song almost feels like it's from another show; up until then all of the songs are comic and tongue-in-cheek, but this song is unabashedly sincere and completely lovely.

The two productions share much of the same creative team, including set designer Ann Gumpper, with the moving staircase set pieces being used for both shows. Costume Designer Lynn Farrington has put the Berlin to Broadway cast in classy period clothing, with a few accessories for some of the roles being played. The wardrobe for the Candide cast is more colorful and cartoonish, with the ensemble wearing Converse tennis shoes.

If you're an opera lover, then Skylark Opera's Summer Festival should be on your must-see list. If, like me, you're a bit of a novice when it comes to opera, don't be intimidated. Skylark makes opera fun and accessible, and has chosen two important 20th Century American composers in Kurt Weill and Leonard Bernstein, brought to life by not one but two groups of talented singer/actor/musicians. Both shows have just a few more performances this weekend, pick one or both and go see some opera on a summer evening.


This article also appears on Broadway World Minneapolis.

"The Incredible Season of Ronnie Rabinovitz" at the History Theatre

This really is an incredible true story. In 1960, a 15-year-old Wisconsin boy was friends with both Jackie Robinson, who broke major league baseball's color barrier, and the 35th American President John F. Kennedy. One would think that this was a story made up to create a great play, except that it's true. Ronnie Rabinovitz met JFK through his father, a prominent lawyer in Sheboygan who worked on Kennedy's campaign in the 1960 presidential primary. Ronnie also wrote fan letters to Jackie Robinson, who responded, leading to a lifelong pen-pal relationship that included telephone conversations and in-person meetings. When the History Theatre's Artistic Director Ron Peluso heard this story, he commissioned Midwest playwright Eric Simonson to write a play about it, which was presented as part of last year's "Raw Stages" new works festival. The Incredible Season of Ronnie Rabinovitz is now being presented with a full production at the History Theatre's downtown St. Paul stage. It's a really engaging and entertaining look at baseball, politics, and civil rights through the eyes of one precocious teenager.

JFK and Mr. Rabinovitz talk politics
(photo by Scott Pakudaitis)

There's lots of fourth wall breaking in this play, with Ronnie beginning the play talking directly to the audience and acknowledging that this is a play in which he's telling his remarkable story, and breaking into the action several times to explain things to the audience. It's quite a clever and effective device, a great way to relax and engage the audience. The action of the play flashes back and forth between two evenings when the two Jacks are in the Rabinovitz home on separate occasions. Kennedy wants Robinson's support in the election, and asks Ronnie's father to talk to him about it. But Robinson supports Humphrey first, Nixon second, and won't be budged. A scene showing the meeting of the two men explains why. Already retired from baseball in 1960, Jackie was active in Civil Rights, and his visit to Wisconsin prompts racist graffiti that seems to upset Ronnie's father more than it does Jackie.

The strong cast begins with the adorable and exuberant Jack Alexander as Ronnie. Mark Benninghofen is great as always as his father, and Teri Park Brown provides much of the comic relief as his mother. Peter Middlecamp plays JFK with the suave charm a Kennedy requires, and Ansa Akyea is comfortable in the role of Jackie Robinson, which he also played in Children's Theatre Company's Jackie and Me last year. Rounding out the cast are E.J Subkoviak with an amusing turn as the sheriff, and Jim Stowell as a frustrated striker.

Jackie Robinson in the Rabinovitz living room
(photo by Scott Pakudaitis)

The very cool set (by Rick Polenek) looks like it's from a 1960s TV show. But not with the harsh realism of Mad Men, more like the nostalgia-tinged sitcoms from the era. Picture Rob and Laura Petrie's living room, in color. In fact that sums up tone of the play as well, it's a little like a 1960s sitcom, with the precocious child, the hard-working, stern, slightly comic father, and the apron-wearing mother making her husband drinks and hors d'ouevres. It just so happens that into this sitcom wander two of the most famous Americans of the 20th Century. The play includes many amusing local references (cheese curds!), although I couldn't figure out why Wisconsonites would be Atlanta Braves fans, until I discovered that they were the Milwaukee Braves until 1965, and the Brewers didn't arrive until 1970.

The Incredible Season of Ronnie Rabinovitz is the History Theatre doing what it does best - presenting an entertaining and informative new play about a moment in Minnesota (er, Wisconsin) history that has larger implications to American history. It's an entertaining, engaging, nostalgic look back at the extraordinary friendships of one ordinary youngster. Playing through February 23, with discount tickets available on Goldstar.com.*



*If you've never used Goldstar.com, I highly recommend that you sign up. They offer half-price (or better) deals for many theaters around town. You'll receive a weekly email that will tell you about some of the deals available. Click here for more information and to see all of the great deals currently offered.

2013 Twin Cities Theater Wrap-up

It's that time of the year again, time to reminisce about some of the amazing theater experiences I had in 2013. And since this is the first year in the past 13 that I haven't made a trip to NYC, everything I saw was right here in Minnesota. This year I saw over 120 locally produced plays, musicals, dance shows, and even an opera (not counting the nine touring shows and 25 Fringe Festival shows I saw). They range from Aida to Yellow Fever (alphabetically) and from Aida to All is Calm (chronologically; in a strange sort of symmetry, my first and last shows of the year were both Theater Latte Da and Hennepin Theatre Trust collaborations at the Pantages). These shows represent over 50 of our fabulous local theater companies at about 50 different venues, from a small intimate audience of 25 people in the magnificent James J. Hill house, to the 2500-seat historic Orpheum Theatre. So without further ado (and in alphabetical order), these are some of my favorite theatrical experiences of this year (click on the title to read my full thoughts on each show).

The first on my alphabetical list, I'm including The Big Lowdown (a co-production of Bedlam Theatre and Live Action Set) because it’s different than any other theater I've ever experienced: a walking tour of St. Paul’s Lowertown neighborhood with surprise performances of dance, music, puppetry, and theater around every corner and hidden in every shadow. A truly magical and wonderfully unique evening.

I saw some great stuff at the History Theatre this year, including a surprisingly compelling story of two Minnesota Supreme Court justices, Courting Harry. But my favorite was the Baby Case, a musical about the Lindbergh baby kidnapping. Except that it wasn't really about the kidnapping, it was about the media circus that surrounded it, that is only different from today's media circus in terms of format and quantity. With wonderful double-lead performances by Peter Middlecamp and Kendall Anne Thompson, a fantastic ensemble, great original music and choreography, I found it to be "funny, moving, entertaining, informative, relevant, thought-provoking, and with tunes you will leave the theater humming."

I agree with the Ivey voters about the Guthrie's Clybourne Park – a wonderful cast of mostly familiar faces in a brilliantly written Tony-winning play that strikes at issues of race, class, and gender. Sometimes it's a good thing when theater makes you uncomfortable, in this case it's very good. (Other favorite Guthrie shows include: Born Yesterday, Other Desert Cities, Skiing on Broken Glass, and Tribes)

Compulsion or the House Behind by Minnesota Jewish Theater was a fascinating look at a Jewish American writer largely responsible for making Anne Frank's diary known to the world. But the story is not that simple, as his obsession takes over every aspect of his life. A complex true story brought to life by an excellent three-person cast and a truly innovative use of puppetry.

In a year of producing only plays written by women (proving once again that their commitment to diversity isn't just so many pretty words), Mixed Blood presented some great work, including the smart and funny dark comedy Elemeno Pea. But I was most impressed by the ambitious trilogy of plays Displaced Hindu Gods by Aditi Kapil. Three completely different plays built around similar themes, with excellent overlapping casts highlighted by a funny, heartbreaking, and vulnerable performance by Debargo Sanyal as an intersex stand-up comic. This was the only time outside of the Fringe Festival that I've seen three plays in one day, and it was quite a glorious marathon of theater.

Gremlin Theater concluded their run in their space on University in St. Paul with the excellent The Effect of Gamma Rays on Man-in-the-Moon Marigolds (they are currently without a permanent home but plan to produce work at other locations beginning early next year). This was one of those experiences in which I didn't know anyone in the cast and had no idea what the play was about, and was blown away. I can't even think about it without starting to tear up. This heartbreakingly beautiful tale of a seemingly awful mother who loves her daughters desperately but doesn't know how to love them hit me right in the gut.

The American Tribal Love-Rock Musical Hair is one of my favorite musicals, and one of the most important in the history of musical theater. This summer it was brought to life by 7th House Theater Collective, a brand new company of some of the most talented young musical theater actors in town (including rising superstars Cat Brindisi and David Darrow). This was a raw and intimate version of the trippy and profound creation that is Hair.

Lyric Arts' The Laramie Project was an all-around beautiful production. This community theater in the suburbs presented an important work of theater that deals with the difficult issue of hate crimes, as well as how art can be used to process, heal, and teach. After seeing this play I wrote, "At its best, theater can give us a forum to understand and explore the most difficult and important issues of our time, and that's what this play does." Well done, Lyric Arts.

Everything Bloomington Civic Theatre did this year was excellent (see also Singin’ in the Rain and Cabaret), but I particularly loved their rich production of the epic musical Les Miserables. With a terrific cast led by one of my favorite actors Dieter Bierbrauer as Valjean, and Anita Ruth's big beautiful pit orchestra, I came to appreciate this classic in a way I never had before.

I saw two productions of American playwright Eugene O'Neill's autobiographical masterpiece Long Day's Journey Into Night this year, both within a few weeks of each other. The Guthrie's production was beautiful and completely satisfying, but then I saw The Gonzo Group's production in the great hall of the James J. Hill House. The perfect marriage of story and location, with a real-life family standing in for O'Neill's family (husband and wife Richard Ooms and Claudia Wilkins, and their son Michael Ooms), and an audience of just 25, I felt as if I were an uncomfortable guest in the Tyrone's tragic family home.

In a year full of wonderful one-man shows (see also Sam Landman in Thom Pain (based on nothing), Stephen Yoakum in An Iliad, and Wade Vaughn in Cul-de-Sac), one stands out clearly in my memory. Frank Theatre's production of the Irish playwright Enda Walsh's Misterman was a wild and crazy ride through the mind of one disturbed but sympathetic man. The brilliant performance by John Catron was matched by the detailed set (I’ve never seen the usually sparse Southern Theater look so cluttered) and sound design (many recordings of different voices playing on cue). A complicated combination of elements that fit together seemingly effortlessly.

Theater Latte Da had a strong year of regular programming (including Aida, Light in the Piazza, Steerage Song, and All is Calm), but what I loved best was their new works series NEXT: New Musicals in the Making. They presented staged readings of three new music-theater pieces, all so different and so wonderful in their own way. When the Moon Hits Your Eye is a play about eccentric characters living in a NYC neighborhood with a diverse selection of songs. C. is a new musical adaptation of the classic French play Cyrano de Bergerac, written by and starring the multi-talented Bradley Greenwald (with music by Robert Elhai). Finally, Bessie's Birthday is an expanded version of a short piece presented in 2009, a funny and poignant musical about a quirky family in Wisconsin. When I’m dismayed by the proliferation of inane movies being turned into a musicals, Theater Latte Da gives me hope for the future of musical theater.

Speaking of original musical theater, there is Ordinary Days. I absolutely loved Nautilus' production of this musical in a series of vignettes about the intersecting life of four New Yorkers. Listening to four fantastic voices (belonging to Jill Anna Ponasik, Kristen Rodau, Doug Sholz-Carlson, and Max Wojtanowicz) with no amplification in a small intimate space was thrilling. It filled me with the pure joy than only truly good musical theater can.

Another entry in the category of the new original musical is Yellow Tree Theatre's Stay Tuned, featuring music by one of my favorite local musicians, Blake Thomas (when he's not composing for musical theater, he's a pretty amazing country singer/songwriter). I wrote at the time, "Stay Tuned is a charming story about American music and its changing forms (from radio and record albums to podcasts and downloads) with really lovely and diverse original music performed by talented singer/actor/musicians."

A great year at Park Square Theatre (see also the funny and intense Good People and the delightful baseball musical Johnny Baseball) was highlighted by Stick Fly, one of those dysfunctional family stories that are so compelling to watch, as they delve into issues of race, class, gender, education, and relationships with smart and fast dialogue. In short, "This is a smart, engrossing, challenging (with several jaw-dropping moments of - they did not just say that!), thought-provoking, emotional, funny, and very real play."

Ten Thousand Things does theater like no other, and everything they do is top-ten-list-worthy. I really loved their brilliant Greek tragedy as hip-hop musical The Seven, but my favorite of their work this year is A Streetcar Named Desire. It's a play I've seen several times before, but never quite like this. In typical TTT fashion, it's stripped down to the bare essentials, with the awesome four-person cast (particularly Kris Nelson as the brutish Stanley and Austene Van as the fragile Blanche) fully embodying these classic characters in Tennessee Williams' gorgeous Southern tragedy. It was "a brutally real and emotionally affecting two hours that's at times difficult to endure. Seeing Williams' tragic story so up close and personal is almost too much to bear. In other words - they did it right."

This was another strong year for the Jungle Theater. I could put every one of their five shows on this list, but I'll narrow it down to Urinetown (an absolutely fantastic ensemble cast led by the always wonderful Bradley Greenwald, interesting and intriguing choreography, smart and funny lyrics, and just plain fun) and Venus in Fur (Anna Sundberg and Peter Christian Hansen in a smart, sexy, funny, Tony-winning play, what more do you need to know?). Although I also loved the tense thriller Deathtrap, the gripping Fool for Love, and the absolutely lovely Driving Miss Daisy. The Jungle is at the top of its game.

Besides these favorite local shows, two events this year deserve special mention. The Guthrie Theater celebrated its 50th anniversary with an amazing concert called BEHOLD featuring beloved Guthrie vets in person (Peter Michael Goetz!) and on video (Christopher Plummer!) as well as theater greats (Whoopi Goldberg descending from the ceiling! Brian D'Arcy James singing a song written by Jason Robert Brown just for the occasion!). It was a truly wonderful celebration of the Guthrie Theater and our outstanding theater community.

Of the non-local shows that I saw this year, I was most touched by Billy Crystal's one-man show 700 Sundays, in a short run at the State Theatre before its return to Broadway. I was expecting a laugh riot, and it was that, but I wasn't expecting it to be so incredibly moving. Billy was extremely personal and vulnerable, and opened himself and his life up to share with the audience - truly beautiful and special.


Every year I pick a few of my favorite artists, not for just one performance, but for multiple remarkable works throughout the year. I really struggled with my choices this year; my list of favorites is long and there are so many artists whose work I loved this year. But in the end I narrowed down to these few:

She may be the daughter of Twin Cities theater royalty (Dad is the Chanhassen's Artistic Director Michael Brindisi, Mom is the fantastic actor Michelle Barber), but Cat Brindisi is a true talent in her own right. Here are a few things I've written about her this year: "never less than 100% committed to whatever character she's inhabiting" (Displaced Hindu Gods); "if I were casting someone to play me in a musical, I'd pick Cat too!" (Fruit Fly); "someday when Cat Brindisi wins her first Tony Award, I'll be sitting at home on my couch cheering her on and remembering the day I heard her sing "Easy to be Hard" in a sweaty little garage space in Minneapolis" (Hair); and "Simply put, Cat Brindisi is a star" (Aida). I look forward to what she will show us in 2014 and beyond.

The Artistic Director of Gremlin Theatre (see Gamma Rays above), Peter Christian Hansen, had a great year on several stages around town (including three of my favorite shows listed above). First was the smart and sexy Venus in Fur at the Jungle, followed by a short and sweet play about Minnesotans in the Civil war, put on by the Minnesota History Center and reuniting him with his Venus co-star Anna Sundberg (who, by the way, was one of my favorite artists of 2011). He played two roles in the Ivey-winning Clybourne Park at the Guthrie, and also appeared in two of the three plays in the Displaced Hindu Gods trilogy at Mixed Blood. He's always so compelling on stage, and I always enjoy the Gremlin's work, so I hope to see more of both of them in 2014. (You can see Peter next as C.S. Lewis in Freud's Last Session at the Guthrie in February.)

2013 was the year of Sally Wingert (but isn't every year?). At the Guthrie she played the mother of not one but two deliciously dysfunctional modern families (in Other Desert Cities and Tribes), a 19th century Russian mother trying to marry off her daughter well (The Primrose Path), and two very different aunties in one play (Pride and Prejudice). The cherry on the sundae of her work this year was her very funny and very real portrayal of the title character in Dark & Stormy's darkly funny The Receptionist. Oh, and did I mention she also gracefully hosted BEHOLD (along with Greta Oglesby)? Not a bad year's work. (Next up: Fraulein Schneider in Theater Latte Da's Cabaret.)

One of the stars of Ordinary Days (see above), Max Wojtanowicz shined in this and several other projects on and off stage. On stage he was a member of the ensemble of the delightful baseball musical Johnny Baseball at Park Square, and also played a rare serious non-musical role in the clever Six Characters in Search of an Author at the Gremlin. But even more impressive is his creative work. The charming autobiographical musical Fruit Fly that he wrote with best friend Sheena Janson was presented as part of Illusion Theater's Fresh Ink series, in which he also starred. Lastly, he was one of the brains behind the hilarious political satire musical Shelly Bachberg Presents: How Helen Keller and Anne Frank Freed the Slaves: The Musical at this summer's Fringe (with music by Michael Gruber for both musicals). He's a great talent onstage and behind the scenes, with more to come I'm certain.

Lastly, my "one to watch" of 2013 is Bryan Porter. I didn't know who he was a year ago, but I've seen him five times this year on five different stages around town, which is a credit to his talent and his commitment. He's endlessly watchable, whether he's portraying Cliff in Cabaret at BCT, a reality TV producer in Six Characters in Search of an Author at the Gremlin, multiple characters in Walking Shadow's Gross Indecency and History Theatre's Christmas of Swing, or a mysterious prince in Sherlock Holmes at Park Square. And he has a lovely voice (see him next in the Ordway's Broadway Songbook in January). I think he has great potential and I look forward to watching him grow on stages around the cities.


That's it, my friends. The year that was in Twin Cities theater. And it was grand, wasn't it? I'm looking forward to even more great theater in the coming year, and I'm particularly excited about 2014 because I've decided to cut back on my hours at my "day job" so that I have more time to spend on Cherry and Spoon, and perhaps grow and expand it. I have a few ideas of things I'd like to do, but I'd love to hear your feedback. What would you like to see on Cherry and Spoon? What do you love, what do you think could improve? Comment below, send me a Facebook message, or email me. Thanks for your support, and I wish you a Happy New Year filled with health, joy, and much wonderful theater.

"Baby Case" at the History Theatre

We live in the media age, with the proliferation of the internet, Facebook, Twitter, and 24-hour cable news channels. Or at least that's what we believe. But the musical Baby Case, receiving its regional premiere at the History Theatre, shows us that 80 years ago the media, and its customers the American public, were just as celebrity-crazed, crime-obsessed, and scandal-hungry as we are today. The only thing that differentiates the current "media age" from past ones is the format, frequency, speed, and availability of the media. In 1932, the celebrity was famed aviator Charles Lindbergh, and the crime was the kidnapping of his 20-month-old son. This "crime of the century" and subsequent trial of the man accused of committing it stirred a media sensation very similar to what we see today. The media and the American public's reaction to the crime and its effects on the people involved are the subject of the musical, rather than the crime itself. Baby Case is a fascinating and fantastic original musical that explores the ideas of fame, crime, and the relentless obsession of the media, told through music in a classic musical theater way.

The musical begins with establishing Lindbergh as a celebrity and a reluctant hero, and quickly progresses to the disappearance of Charles Jr. from his nursery one night. The first act deals with the search for the baby and the kidnappers, and the sad conclusion to the former search. In the second act, Bruno Hauptmann is accused and tried two years after the crime, with the primary evidence being possession of bills from the ransom money. The media interferes with all of this, as do Lindbergh's famous and powerful friends (including president Hoover). It's a tragic story with no happy ending for anyone, except perhaps for the newspapers. All of this is told beautifully and powerfully through song, with little spoken dialogue. It's a traditionally structured musical, with big ensemble numbers ("Hauptmann Murdered the Lindbergh Baby!") and quieter moments of internal reflection ("Lullaby," "Over the Sea"). Baby Case proves that you can make any story into a musical, if done right, as this one is. It's funny, moving, entertaining, informative, relevant, thought-provoking, and with tunes you will leave the theater humming.

The 11-person cast is wonderful across the board, all of them playing multiple characters. Peter Middlecamp and Kendall Anne Thompson play both couples at the center of the story - the Lindberghs and the Hauptmanns (the man convicted of the crime and his wife, who devoted her life to clearing his name).  They have great chemistry as both couples, and both Peter and Kendall have beautiful voices and really bring out the complicated emotions of their characters. In the second song of the show (the moment I knew this was going to be a good one) they form a powerful trio with Kym Chambers Otto as the Nurse who discovers that the baby is missing. Other standouts in the cast include Jon Andrew Hegge, transitioning between famous radio gossip Walter Winchell and a judge with a deft turn and removal of a hat; Gary Briggle as the man who facilitated the ransom delivery, the questionable defense attorney, and Phil Donahue; Emily A. Grodzik as an accused servant and Ginger Rogers; and Paul R. Coate, providing a bit of comic relief as a lady socialite duped into paying ransom money to con artists.

The production elements are also all top-notch. The Hooverian set is simple, efficient, effective, and evocative, with newspapers in the background reflected in mirror image on the floor, as well as a ladder and fireman's pole for easy movement to the second story area. The wardrobe by E. Amy Hill reflects this color palate of yellowed newspapers - black, white, tan, neutrals, with pops of red or maroon and nary a green or blue to be seen. Lovely period clothing and a fabulous aviator jacket that makes me want to find one for myself (in faux leather of course). Jake Endres leads the sparse four-piece orchestra, just off stage, through this great music.

Baby Case is a promising new musical (it was a hit at last year's New York Musical Festival) with shades of Ragtime (the first "Crime of the Century!"), Floyd Collins (another early 19th century media circus), even Next to Normal (mourning the loss of a child). In the second act I had flashbacks to another musical on that very stage - the Theater Latte Da/MN Jewish Theater co-production of Parade, about another man falsely (?) accused of the murder of a child. This is not to say Baby Case is derivative; it's an original creation that fits well in the musical theater anthology. If you're a fan of musical theater, you should not miss this fantastic production of a great new musical (playing through Nov. 3 at the History Theatre in downtown St. Paul, discount tickets available on Goldstar).